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  1. Hyacinthe-Gabrielle Wellesley, Countess of Mornington (née Roland or Rolland; c. 1766 – 5 November 1816) was a French actress who became the mistress, and later the wife, of Richard Wellesley, 1st Marquess Wellesley. As an actress, she was known as Gabrielle Fagan.

    • French
    • Hyacinthe-Gabrielle Roland, c. 1766, Paris, France
    • Hyacinthe-Gabrielle Fagan
  2. Hyacinthe-Gabrielle Roland. Lady Charles Cavendish-Bentinck (born Anne Wellesley; 29 February 1788 – 19 March 1875), [1] known between 1806 and 1816 as Lady Abdy, was a British aristocrat and a great-great-grandmother of Queen Elizabeth II .

  3. Hyacinthe-Gabrielle Roland, comtesse de Mornington (1766-1816) est une actrice française. Elle est l'arrière-arrière-arrière-grand-mère de la reine Élisabeth II du Royaume-Uni . Biographie. Née à Paris en 1766, Hyacinthe-Gabrielle est la fille unique de Pierre Roland et de Hyacinthe-Gabrielle Daris 1, 2 .

    • Actrice
    • 1766Paris, Royaume de France
    • 7 novembre 1816Staffordshire, Royaume-Uni
    • Française
  4. Lord Wellesley had several children by his French mistress, Hyacinthe-Gabrielle Roland (they were married in 1794 after the birth of their children). One of them, Anne, married as her second husband Lord Charles Bentinck. They were great-great-grandparents of Queen Elizabeth II . William Pole-Tylney-Long-Wellesley, 4th Earl of Mornington.

  5. Artwork Details. Overview. Signatures, Inscriptions, and Markings. Exhibition History. Title: Hyacinthe Gabrielle Roland. Artist: Elisabeth Louise Vigée Le Brun (French, Paris 1755–1842 Paris) Date: 1791. Medium: Oil on canvas. Dimensions: 39 × 29 1/2 in. (99 × 74.9 cm) Classification: Paintings.

  6. 15 de abr. de 2020 · Hyacinthe-Gabrielle Roland’ was created in 1791 by Louise Elisabeth Vigee Le Brun in Rococo style. Find more prominent pieces of portrait at Wikiart.org – best visual art database.

  7. Hyacinthe-Gabrielle Roland (1766-1816) had been an actress at the Comédie Française before the revolution. In Rome, she became the lover–and later the wife–of a British aristocrat, the First Marquess Wellesley of Norragh. Windswept and free of extraneous ornament, the portrait exemplifies the engagingly informal style that Vigée adopted in Italy.